If you’re unfamiliar with what Tomer Hanuka is all about, you’ve been doing your eyes a great disservice. From his excellent Mondo film posters, to his fantastic ability to apply his comic-inspired style which have enabled his work to reach all kinds of audiences. The next step is to share him with mine. He has created book jacket images for Penguin, Random House, Scholastic, Tor and others, and a raft of periodicals including Playboy, Rolling Stone, Business Week, Time, The New York Times and Der Spiegel have all been graced with his imagery. Read below for the full interview…
Do you only do movie prints for films that personally resonate with you and you can choose your projects with Mondo? Or are they just direct commissions from Mondo?
Tomer: They will send over a query, just to feel out where the wind is blowing. Sometimes they want to hear how a certain project would be approached in very general terms. It doesn’t always click — I need to be into the film, and they need to go along with my take on it. In a way, they have a very unique business model, giving artists a space to do their own thing by riffing on a pop culture, and still Mondo manages to have a consistent voice through all their projects.
Could you give us an update on Hard Apple? What kind of developments has the story undergone this year?
Tomer: A short pilot is in late production stages. I can’t say too much. More soon…!
You’ve done work for an ecclectic variety of clients. How are you able to adapt your work to fit so many molds? Do you have to get inside a different creative headspace with each one?
Tomer: It’s usually the other way around, a client needs something that feels a certain way and will be looking for a specific artist to fulfill that role, much like casting in a movie. ironically the struggle is to get out of your designated head-space and do something entirely different.
Thumbing through your book, your illustrations are highly imaginative. I also noticed most pieces revolve around strong complementary colors. What is your creative process like when featuring strong juxtaposition within a piece?
Tomer: I like drama, and usually try to summon a variety of tools, from composition to color, to create that. Though the idea of what is dramatic varies wildly. It can be a flashy explosion or a quiet show-down. It can be a very static moment, as usually the case.
Your brother, Asaf, and you are collaborating on many projects together. Anything you can share with us on what it is like creating with a family member and updates on ‘The Divine’?
Tomer: The Divine is in the works. Asaf and myself are collaborating with Boaz Lavie who is writing it. When you have a tight creative group the end result is larger than the sum of it’s parts. This project took a lot of unexpected turns and twists and is much better for it.
Lastly, could you tell us a your favorite Asian Film?
Tomer: Hands down, and not just Asian, it would be AKIRA.
Want to keep tabs on all of Tomer’s upcoming projects like the ones we talked about and more? Follow his cookie crumb trail below:
Also, be sure to pick up his latest book — OVERKILL:
Overkill is a monograph showcasing selected works form the first decade of the 21st century. 104 full color pages. Large format.